2025 was stacked, although as other commenters have noted, Marty Supreme belongs in there, and I also enjoyed Nouvelle Vague.
I'd also throw in 2019 as a pretty stacked year as well: Once Upon a Time in Hollywood, Uncut Gems, The Irishmen, Portrait of a Lady on Fire, Parasite, Little Women, A Hidden Life, The Souvenir, Pain and Glory, Ad Astra.
Agree 100%. I'd throw Marty Supreme into that list as a film using the past to discuss present themes of American myth vs reality. I also think there's a real Romantic sensibility to almost all of these films. A rejection of systems in favor of people and human connection. All seem to be grappling with "what happens at the end of something".
In the forward to his book on John Ford critic and author Scout Tafoya said “Culture must (necessarily) be a reflection of our times and America has never once had a minute where the times have afforded us the luxury of uncomplicated art”
Thank you for writing this. I’ve felt this as well. And it’s the eras you’ve outlined that I find the most interesting.
Great distinction here between Parasite and Glass Onion vs Bugonia and Eddington. The "Eat the Rich" genre is escapism, you leave the theater feeling righteous, whereas the "Fractured America" 2025 canon makes you feel disoriented. One flatters our politics, the other implicates us in the confusion.
Agree with a lot of this, Ed. And I’d go further to say that there are formal elements shared across these films (and quite a few others besides) that, to me, speak to filmmakers struggling, or intentionally refusing, to articulate a coherent visual and narrative sensibility. It’s an aesthetic of wild mood swings: one moment it’s “overwhelming the senses” through motion and sound, then it shifts to sombre, abstract, even hallucinatory contemplation. And then narratives become progressively unhinged, with connections fracturing, themes becoming contradictory, and there’s often an abrupt end which lacks either clear resolution or the kind of ambiguity that invites discussion (beyond what was that about). It’s as though the cinematic zeitgeist is in line with a feeling of desperation and confusion, for which there is no political-aesthetics thought mechanism to posit solutions or hope. It’s certainly been an interesting period of film however you view it.
Agree with a lot of this but I strongly disagree that Parasite is escapism. It starts as a fun black comedy, yes, but it’s ultimately a pretty cynical and sad film. Even after everything, the Kim family has lost two members and will never be the same, while the Parks will always get to live in prosperity.
Hardly escapism in my book. I see why No Other Choice was more resonant for you though; it interrogated class very differently, with Parasite revolving around the lower class conning their way into upward mobility while NOC is about its protagonist fighting to remain in the upper middle. So it’s not really an eat the rich movie, and it’s also got that AI undercurrent, which makes it a bit more contemporary and specific to 2025.
Parasite also arguably adheres to your elevated horror thesis of reflecting universal truths rather than commentating on the cultural moment.
I haven’t seen Triangle of Sadness or Ready Or Not, but might someday; honestly more interested in Ostlund’s other work, like Force Majeure. And I thought Glass Onion was booty lol.
This is such a thought through take. Films have felt so repetitive and without true meaning until recent with the ones you listed along with Sinners, Bring her back, etc.
The best films with social commentary seem to emerge when we realise that everything is fucked and we don't necessarily know how to fix it, but we know that it's not sustainable, so we tell a story about it in hope that it inspires the next generation to be better.
The “cinema is dying” viewpoint feels worn out. Movies will always be here, and they will keep evolving. They may just live in different places than they did before.
2025 was stacked, although as other commenters have noted, Marty Supreme belongs in there, and I also enjoyed Nouvelle Vague.
I'd also throw in 2019 as a pretty stacked year as well: Once Upon a Time in Hollywood, Uncut Gems, The Irishmen, Portrait of a Lady on Fire, Parasite, Little Women, A Hidden Life, The Souvenir, Pain and Glory, Ad Astra.
Agreed! 2017 and 2023 were awesome years as well.
Agree 100%. I'd throw Marty Supreme into that list as a film using the past to discuss present themes of American myth vs reality. I also think there's a real Romantic sensibility to almost all of these films. A rejection of systems in favor of people and human connection. All seem to be grappling with "what happens at the end of something".
In the forward to his book on John Ford critic and author Scout Tafoya said “Culture must (necessarily) be a reflection of our times and America has never once had a minute where the times have afforded us the luxury of uncomplicated art”
Thank you for writing this. I’ve felt this as well. And it’s the eras you’ve outlined that I find the most interesting.
Wow that’s a great quote. Gonna dig out that book. Thank you, I appreciate it.
Great distinction here between Parasite and Glass Onion vs Bugonia and Eddington. The "Eat the Rich" genre is escapism, you leave the theater feeling righteous, whereas the "Fractured America" 2025 canon makes you feel disoriented. One flatters our politics, the other implicates us in the confusion.
Thanks Bardiya, and yes, exactly! That’s a great way of phrasing it.
Agree with a lot of this, Ed. And I’d go further to say that there are formal elements shared across these films (and quite a few others besides) that, to me, speak to filmmakers struggling, or intentionally refusing, to articulate a coherent visual and narrative sensibility. It’s an aesthetic of wild mood swings: one moment it’s “overwhelming the senses” through motion and sound, then it shifts to sombre, abstract, even hallucinatory contemplation. And then narratives become progressively unhinged, with connections fracturing, themes becoming contradictory, and there’s often an abrupt end which lacks either clear resolution or the kind of ambiguity that invites discussion (beyond what was that about). It’s as though the cinematic zeitgeist is in line with a feeling of desperation and confusion, for which there is no political-aesthetics thought mechanism to posit solutions or hope. It’s certainly been an interesting period of film however you view it.
Agree with a lot of this but I strongly disagree that Parasite is escapism. It starts as a fun black comedy, yes, but it’s ultimately a pretty cynical and sad film. Even after everything, the Kim family has lost two members and will never be the same, while the Parks will always get to live in prosperity.
Hardly escapism in my book. I see why No Other Choice was more resonant for you though; it interrogated class very differently, with Parasite revolving around the lower class conning their way into upward mobility while NOC is about its protagonist fighting to remain in the upper middle. So it’s not really an eat the rich movie, and it’s also got that AI undercurrent, which makes it a bit more contemporary and specific to 2025.
Parasite also arguably adheres to your elevated horror thesis of reflecting universal truths rather than commentating on the cultural moment.
I haven’t seen Triangle of Sadness or Ready Or Not, but might someday; honestly more interested in Ostlund’s other work, like Force Majeure. And I thought Glass Onion was booty lol.
industry going on a generational run just when i am out of money
Because, among many other reasons, Ryan Coogler’s “Sinners” <3
This is such a thought through take. Films have felt so repetitive and without true meaning until recent with the ones you listed along with Sinners, Bring her back, etc.
Thanks, Meg!
Gonna have to take your word for it as I watch 3 outdated movies a year, so this has been very insightful!
America primarily makes propaganda movies. Recently it started making movies about life like a normal country does.
This is incredibly sharp
Thank you!
Buñuel was walking “eat the rich” theme so Lanthimos and Östlund could run it.
The best films with social commentary seem to emerge when we realise that everything is fucked and we don't necessarily know how to fix it, but we know that it's not sustainable, so we tell a story about it in hope that it inspires the next generation to be better.
Cinema is alive and not so well. But it's alive. Loved your optimism and critique here.
Thanks Ricardo!
The “cinema is dying” viewpoint feels worn out. Movies will always be here, and they will keep evolving. They may just live in different places than they did before.
Agreed!